- quote -
The child of Amatsukunitama. In preparation for the Descent of the Heavenly Grandchild (tenson kōrin), Amenohohi was first sent from the Plain of High Heaven to the residence of the earth kami Ōkuninushi, to pacify the Central Land of Reed Plains and engage in negotiations for its transfer to the Heavenly Grandchild. Amenohohi did not return, however, with the result that Amenowakahiko was entrusted with bow and arrow from the heavenly kami, and dispatched with the same mission. According to Kojiki, this appointment was at the recommendation of Omoikane, while Nihongi states that it was at the recommendation of all the heavenly kami.

Amewakahiko, however, took to wife Shitateruhime, the daughter of Ōkuninushi, and made plans to rule himself over the Central Land. Like his predecessor, Amewakahiko sent no report back to the Plain of High Heaven, with the result that Takamimusuhi and others convened a council of the heavenly kami; upon deliberation, they decided to dispatch the pheasant Nakime to inquire of Amewakahiko's true intentions. But Amawakahiko, urged on by Amenosagume, used the bow and arrow received from the heavenly kami to shoot the pheasant Nakime. The arrow pierced Nakime and continued to climb to heaven where it was found by Takamimusuhi; discerning the false heart of Amewakahiko, he flung the arrow back down at the Central Land where it struck Amewakahiko mortally in the breast.
Nihongi records that at the time he was killed, Amewakahiko was resting after observing the festival of first fruits (Niinamesai), while Kojiki states that he was lying in bed one morning. The histories relate that this event was the origin of the maxim, "fear a returning arrow," and the story is also touched upon in the "norito for the exorcism of a vengeful deity" (Tataru kami utsushiyarau).

Amewakahiko's name is mentioned in the fragmentary records of the Settsu no kuni fudoki, the Utsubo monogatari, Sagoromo monogatari, as well as the later Otogi zōshi. His name appears to have been widely used as a generic reference to male deities who descended from heaven to earth.
Deities called Amewakahiko are worshiped at some shikinaisha in the province of Izumo. - source : Mori Mizue 2005 - Kokugakuin -

- quote - A Demon in the Sky:
The Tale of Amewakahiko, a Japanese Medieval Story
By Reider, Noriko T.
In most cultures demons and dragons reside at the heart of the supernatural, where their distinct status reflects their various cultural roles. This is also true of Japanese culture and folklore, where these creatures play prominent roles.
For present-day Japanese, oni (demons or ogres) typically reside in Buddhist hell to punish mortal sinners, but for their medieval counterparts, the oni's role and the space oni occupied were much more flexible. Perhaps a prime example of this is Amewakahiko söshi (Tale of Amewakahiko; fifteenth century), a fictional story that recounts one legendary origin of Tanabata (Festival of the Weaver, the Star Festival), the celebration of the annual meeting of the Weaver Maid and the Cowherd, who represent the stars Vega and Altair, respectively. In this version of the Tanabata story, an oni is standing in the beautiful serene sky. This oni turns out to be the father of a kairyüö (Kairyu-O, a dragon king of the ocean) who also lives in the sky. This dragon king calls himself Amewakahiko (sometimes Amewakamiko), hence the title.

The plot of The Tale of Amewakahiko
is similar to "Cupid and Psyche" by Lucius Apuleius (second century CE). Some scholars in Japan recognize "Cupid and Psyche" as the source of The Tale of Amewakahiko, and others read the dragon king's tale as indigenous to Japan. Although there is no finally persuasive evidence that the Japanese tale was influenced by "Cupid and Psyche," it is worthwhile to examine the Apuleian tale's connection to The Tale of Amewakahiko and to share these different scholarly perspectives from Japan in an English-language publication. Thus in this essay I discuss the various possible origins of the tale. Thinking of The Tale of Amewakahiko in a Japanese folkloric and literary context reveals a specifically medieval Japanese view of space boundaries (or lack thereof) of underground, earth, and heaven that oni and a dragon travel; it also suggests that studies of ancient and classical Japanese literature (periods of ancient and classical literature, 645-1185 CE) by medieval Japanese scholars influenced the choice of the characters' names and their actions in this tale.

--- Plot and Genre of The Tale of Amewakahiko
One day a huge serpent appears in front of a wealthy family's house. The serpent demands one of the family's three daughters for his wife or, he threatens, he will destroy the whole family. The two older daughters refuse, but the youngest daughter consents. A huge house is built near a pond as part of the wedding preparations requested by the serpent, and there, alone, she awaits her snake husband. When the gigantic serpent appears, he asks the girl to cut off his head. As she does so, a handsome, young gentleman appears, and they live happily in their newly built house. After a while, the husband reveals his true identity as a dragon king of the ocean and tells the girl that he must go to the sky to do some business. He tells her how to find him in the sky if he does not come back. He then orders her not to open a certain treasure chest-if the chest is opened, he tells her, he will not be able to return to earth. While he is away, her two older sisters visit her and become jealous of her wealth and happiness. They open the treasure chest from which only smoke arises. When the girl learns that her husband cannot return anymore, she goes to Kyoto as instructed by her husband before he left and buys a gourd whose vine grows to the sky in one night.

Climbing the vine up to the sky, the girl journeys in search of her husband, whose name, the reader has learned, is Amewakahiko (or Amewakamiko). With great difficulty, she finally finds him. Although they are happy together, Amewakahiko expresses his concern that if his father, an oni, becomes aware of her, there could be trouble. So whenever his father visits him, the dragon king changes his wife into a pillow or fan. But the secret is finally revealed one day, and the oni-father takes her away and imposes on her four difficult tasks. … - source : questia.com/library/journal -

Built during the 戦国時代 Period of the Warring States by 高野瀬氏 Lord Takanose to protect his castle, the town and his people.
Many people come here on the 17th of each month to celebrate and attend rituals.

- quote
Located in Koka, Shiga Prefecture, not much is known about the establishment of Aburahi-jinja but it is known that Shotoku Taishi founded it. Long ago it is said that the god 油日大明神 Aburahi-dai-myojin ascended the nearby mountain of Aburahidake; upon his ascent he emitted a dazzling light like that of oil that was lit on fire, and thus the name 油火“Aburahi” was given to the mountain.
Due to this legend, this shrine receives much reverence from people who work in the oil industry. The shrine has an unusual “straight line” layout with a solemn “romon” gate, prayer hall, and main hall. All of these were constructed during the Muromachi Period (1336 - 1573) and all of them are designated as Important Cultural Property of Japan.
There are also trees on the premises that are over 700 years old and an umbrella pine tree that is designated as a Natural Monument of Shiga Prefecture.

Every year on the first of May a “Taiko Dance” is held as a prayer for rain; this is designated as an Intangible Folk Cultural Asset of Japan.
Another event that is held is the “Yakko-buri”(Yakkofuri); this event is held every 5 years and involves a procession of over 60 people singing unique songs and wearing eye-catching costumes. This event is designated as an Intangible Folk Cultural Asset of Shiga Prefecture.- source : japanhoppers.com/kansai

zuzuiko is a word deformation of suzu 鈴 (bell), referring to a strong man with a large penis. It is a symbol of fertility and agricultural blessings for a good harvest.
This figure dates back to about 1508 or 1509. It is about 52 cm high.

the headquarters of Aoso shrines all over the country. It was founded in 852 by Hozumi Yasumasa 穂積保昌, the ancestor of the current shrine priest’s family, who came to this area from Kyoto. He enshrined Amaterasu Omikami 天照大御神 (the sun goddess), Ame no Minakanushi no Kami 天之御中主神 (the god of the universe), and Tsukuyomi no Kami 月読神 (the god of the moon)
in the cave where holy water sprang out; hereby the shrine is famous as the place where the sun, the stars and the moon are enshrined together.

Yasumasa taught the villagers how to grow hemp plants.
It is said that the shrine name “Aoso,” which literally means Green Hemp, was derived from this episode. The shrine has been known for its divine power to cure and prevent palsy, and it is said that if you visit this shrine three times, you will never be stricken with palsy for the rest of your life.

As the Hozumi clan was involved in maritime industry, the shrine is also worshipped as the deity of navigation safety.
The famous fine water “Osuzu” springs out in the precinct. A lot of visitors come to take a drink of this holy water.- quote by Nipponkichi -

- quote - Eidai Kagura of the Sakaki School in Tomiya town 富谷町
handed down in Ohgame, is characterized by dancing in ancient ceremonial court costumes derived from a myth, and with drum and flute music. It was originally transmitted from the Shinto commissioner to the 32nd priest of Aoso Shrine in Sendai, and then started to be performed in Kashima Amatariwake Shrine in 1848. Since then it has been continuously transmitted from generation to generation for more than 1500 years. It is now being performed by many citizens as an intangible cultural property of the town. It is recognized as a very rare Kagura that still observes an ancient style of performing only by actions without words or lyrics. Today, this Kagura is performed every year in April in dedication to the god of the shrine. - source : town.tomiya.miyagi.jp -

- quote - Tsukuyomi no mikoto
Other names: Tsuki no kami (Nihongi), Tsukiyumi no mikoto (Nihongi).
The second of Izanagi and Izanami's "three noble children," and usually considered a male kami with rule over the night. The name tsuku-yomi is thought to be originally related to the lunar calendar, and refers to the "reading" (yomu) of the phases of the "moon" (tsuki). According to Kojiki and an "alternate writing" in Nihongi, Tsukuyomi came into being when Izanagi washed his right eye as he was undergoing ablution. Tsukuyomi was entrusted by Izanagi with rule variously over the sea (Nihongi) or over the realm of night (Kojiki). In the main account of Nihongi, Tsukuyomi is produced jointly from Izanagi and Izanami, and is entrusted to the sky as a complement to the sun kami.
In another "alternate writing" related by Nihongi, Tsukuyomi comes into being from the white copper mirror held in Izanagi's right hand. These accounts of the kami's genesis, involving the juxtaposition of left eye to right eye, left hand to right hand, and sun to moon, tend to agree with the interpretation of Tsukuyomi as a male counterpart to Amaterasu, who is commonly considered female.
In Kojiki,
Tsukuyomi does not appear again after the anecdote regarding his birth, but an "alternate writing" in Nihongi relates that Tsukuyomi originally resided together with Amaterasu in heaven, but after killing the kami of foods Ukemochi, he was condemned by Amaterasu as an "evil kami" and forced to live apart from the sun, resulting in the separation of day and night.
Nihongi's record of Emperor Kensō
includes an episode in which a human medium delivers an oracle of the moon kami stating that land should be offered to the kami Takamimusuhi. The fact that the aforementioned "alternate writing" transmitted by Nihongi describes Tsukuyomi as ruler of the sea and killer of the food deity Ukemochi gives him characteristics in common with the kami Susanoo; in consideration of the theme of the killing of the food deity and the relation of the moon to harvest in the lunar calendar, Tsukuyomi can be considered a tutelary of agriculture.
Tsukuyomi
is the object of worship (saijin) at the detached shrine (betsugū) Tsukuyomi no Miya of the Grand Shrines of Ise (Ise Jingū), as well as at several shrines listed in the Engishiki (see shikinaisha) in the Yamashiro and Ise areas. - source : Mori Mizue, Kokugakuin 2005 -

- quote - Tsukuyomi or Tsukiyomi (月読, also known as Tsukiyomi-no-mikoto),
is the moon god in Shinto and Japanese mythology. The -no-mikoto ending is a common honorific suffix for the names of gods, of similar meaning to "the grand, the great, the exalted". The name "Tsukuyomi" is a compound of the Old Japanese words tsuku (月, "moon, month", becoming modern Japanese tsuki) and yomi (読み, "reading, counting").
The Nihon Shoki mentions this name spelled as Tsukuyumi (月弓, "moon bow"), but this yumi is likely a variation in pronunciation of yomi (読み, "reading, counting").
An alternate interpretation is that his name is a combination of tsukiyo (月夜, "moonlit night") and mi (見, "looking, watching").
"Yomi" may also refer to the Japanese underworld, though this interpretation is unlikely.

Unlike the myths of ancient Greece or Rome, the Japanese moon deity is male. This is clear in the earliest mentions in sources such as the Kojiki and the Man'yōshū, where Tsukuyomi's name is sometimes rendered as Tsukuyomi Otoko (月讀壮士, "moon reading man") or as Tsukihito Otoko (月人壮士, "moon person man").

Tsukuyomi was the second of the "three noble children" (三貴子, みはしらのうずのみこ, Mihashira-no-uzunomiko) born when Izanagi-no-Mikoto, the god who created the first land of Onogoro-shima, was cleansing himself of his sins while bathing after escaping the underworld and the clutches of his enraged dead wife, Izanami-no-Mikoto. Tsukuyomi was born when he washed out of Izanagi's right eye. However, in an alternate story, Tsukuyomi was born from a mirror made of white copper in Izanagi's right hand.

After climbing a celestial ladder, Tsukuyomi lived in the heavens, also known as Takamagahara, with his sister Amaterasu Ōmikami, the sun goddess who also later became his wife.

Tsukuyomi angered Amaterasu when he killed Uke Mochi, the goddess of food. Amaterasu once sent Tsukuyomi to represent her at a feast presented by Uke Mochi. The goddess made the food by turning to the ocean and spitting out a fish, then facing the forest and game came out of her mouth, and finally turned to a rice paddy and coughed up a bowl of rice. Tsukuyomi was utterly disgusted by the fact that, although it looked exquisite, the meal was made in a disgusting manner, and so he killed her.
Soon, Amaterasu learned what happened and she was so angry that she refused to ever look at Tsukuyomi again, forever moving to another part of the sky. This is the reason that day and night are never together.
In later versions of this myth, Uke Mochi is killed by Susanoo instead. - source : wikipedia -

- quote -
. . . . . Another kami identified with Inari is Uke-mochi, the Shinto goddess of food. According to a myth recorded in the Nihongoki,
Uke vomited rice and fish to give to Tsukiyomi, the Moon Kami, at a banquet. (This may have symbolized the eternal recycling of food from one life form to another.) In any case, Tsukiyomi apparently did not appreciate the gesture, for he killed Uke instantly. Her dead body then produced all the foods and animals that are related to agriculture.
. . . . . According to the legend recounted in the Nihon Shoki (“Chronicles of Japan”), the moon god, Tsukiyomi, was dispatched to earth by his sister, the sun goddess Amaterasu, to visit Ukemochi no Kami. (According to the Kojiki, “Records of Ancient Matters,” it was another brother, the storm god Susanoo, who was sent on the mission.) The food goddess welcomed him by facing the land and disgorging from her mouth boiled rice, turning toward the sea and spewing out all kinds of fishes, and turning toward the land and disgorging game. She presented these foods to him at a banquet, but he was displeased at being offered the goddess’s vomit and drew his sword and killed her. When he returned to heaven and informed his sister of what he had done, she became angry and said, “Henceforth I shall not meet you face to face,” which is said to explain why the Sun and Moon are never seen together. - source : Mark Schumacher -

Aoso sama 青麻様 - 天狗 Aoso Sama and Tengu
The 鹿間家の屋敷神 Deity of the House of Shikama is called Aoso Sama. It is Tengu.
On the first day of the fourht and ninth month he is welcomed as the deity of 中風 illness and 赤飯 red festival rice is offered. Since he does not likeカボチャとネギ pumpkin and leek, this family does not prepare them at all.

09/08/2014

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ahirukusa moji 阿比留草文字 ahiru kusa characters
（あひるくさもじ）

Izumo moji 出雲文字Fujihase moji 節墨譜文字Hayahito no te 薩人書 (from Satsuma)

jindai moji 神代文字 “scripts of the age of the gods”

- quoteJindai moji or Kamiyo moji (Japanese: 神代文字 “scripts of the age of the gods”)
are characters that was said to be scripts used in ancient Japan. Debates since Edo period and Japanese academic society regard Jindai moji as forgeries. Although ancient character researchers insisted the existence as Uetsufumi or Hotsumatae found, it is denied in historiography because of no existence of earthenware with it. People who believe in the existence use the word Jindai moji in the meaning of "ancient characters". Since around mid-Edo period some people have been saying ancient characters were found in remains, Kofuns and mountains such as Chikushi characters, Hokkaido characters. Hundreds kinds of Jindai moji were said to be found.

History
Jindai moji was firstly addressed in the end of Kamakura period by Urabe no Kanekata (卜部兼方) in Shaku Nihongi mentioning his father, Urabe no Kanefumi, assumed ancient people could not have performed oracle bone style fortunetelling with turtles (亀卜, Kameura; turtle fortunetelling) as described in Nihon Shoki without having characters. Though there was no Jindai moji characters introduced in Muromachi period, some types of Jindai moji appeared in Edo period and each of them named after the source article or the place the characters discovered. Debate over the existence erupted in Edo period. Japanese academic society denies the existence.

... While scholars generally have negative opinions, Some scholars such as Inbe Masamichi (忌部正通)、Arai Hakuseki、Hirata Atsutane 、Takamasa Omiya(大国隆正) affirmed the existence of Jindai moji which Urabe no Kanekata (卜部兼方) first mentioned in Shaku-Nihongi in Kamakura era.

Hikohohodemi no mikoto 彦火火出見命 (also known as Yamasachihiko Yamasachi Hiko), Toyotama-hime 豊玉姫命 (Princess Toyotama, wife of Yamasachihiko, daughter of the god of the sea) and
Shiotsuchi-no-Okina, Shiotsuchi no Oji, Shiozutsu no Ookami 塩筒大神 (old man of the the sea). 塩竈明神- details see below -

It is not exactly clear when the shrine was built, but it was noted as a “Emperor Saga's Gyoagamematsuru Aoshima Daimyojin (a kind of god)“ by Kokushi official inspection notes on “products of Hyuga”. It is said that it was enshrined before the year 820.

In ancient times, the whole island was sacred ground and until the Edo period entry onto the island was not permitted.
Entry onto the island was only permitted from the 16th day of 3rd month to the end of the 3rd month of the Chinese calender. Also, it was forbidden for people from other regions to pray there.

After that, from May 23 of the 2nd year of the Genbun era (1737) permission was given for others to pray there and then the shrine gathered visitors from throughout Japan.
MORE- source : www.miyazaki-city.tourism.or.jp

Aoshima shrine is supposed to give a divine blessing, especially to those who want to be married and sells ema 絵馬 votive tablets and other amulets for this purpose.

emakake 絵馬掛け
A special path through jungle and facilities to hang the ema votive tablets to pray for a good partner or good meeting.

WAX MUSEUM OF THE MYTH OF HYUGA
With the story of Yamasachi Hiko, Umisachi Hiko and Toyotama Hime.

SCENE 5
In the world of the sea, Yamasachi-hiko climbed a large tree in front of the palace of Watatsumi-Toyotama-hiko, guardian of the world of the sea. While he was there, Princess Toyotama came to the well to draw water. Startled to see a man in a tree, Princess Toyotama rushed back home and told her parents, "I saw a man in a tree when I went to the well to draw water. He looks noble and I am sure he is a very distinguished person." The god of the sea asked Yamasachi-hiko who he was. Yamasachi-hiko replied that he was the child of a god who had descended from heaven.

SCENE 6
The god of the sea welcomed Yamasachi-hiko as an important guest, with much feasting and dancing. After a while, Yamasachi-hiko married Princess Toyotama and they lived together in the palace of the sea god.

SCENE 9
Now that the fishhook was found, Yamasachi-hiko was able to return it to his brother. As he was about to leave for the earthly world, Princess Toyotama said to him, "Our baby will be born soon When I go into labor I will come to find you. So, please build a house there and wait for me."
Yamasachi-hiko went back to the earthly world, carrying the fishhook and two magic balls given to him by the sea god.

SCENE 11
Yamasachi-hiko, feeling relieved, started to build a house for Princess Toyotama. However, before it was completed, Princess Toyotama came to him and told him that the baby was about to be born. She went into the house, warning him not to come and watch. At first, Yamasachi-hiko waited outside patiently. However, eventually he lost patience and looked inside. He found a huge shark giving birth to a baby.
Princess Toyotama's true form had been revealed to Yamasachi-hiko. She was heartbroken and went back to the world of the sea, leaving behind her newborn baby. The baby named Hikonagisa-Takeugaya-Fukiaezu-no-Mikoto, was brought up by Princess Toyotama's younger sister, Princess Tamayori.
He grew up and married Princess Tamayori who had brought him up. They had four children together: Hikoitsuse-no-Mikoto, Iinahi-no-Mikoto, Mikeirino-no-Mikoto and Kamuyamato-lwarebiko-no-Mikoto.

Takes place during the daytime on the beach, facing wave-shaped rocks called "Ogre's Washboard".
Local people and worshippers of the shrine dip into the sea to pray for safety and a good harvest in the coming year.

- quoteKotokatsukunikatsunagasa - Kotokatsu kunikatsunagasa no mikoto
A local kami who greeted the heavenly grandchild Ninigi upon his arrival at Kasasa of Ata no Nagaya (in Kagoshima Prefecture) after his descent from heaven (tenson kōrin).
Nihongi states that the kami made a free-will offering of the land to Ninigi. According to a variant "alternate writing" also provided by Nihongi, the kami is identified with Shiotsuchi no oji ("old man of the sea"), an offspring of Izanagi. Shiotsuchi no oji is described elsewhere as guiding Hohodemi to the Palace of the Sea, and telling Emperor Jinmu about the "fair land to the east," with the result that he is viewed as a tutelary kami of the sea. - source : Kadoya Atsushi, Kokugakuin

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Here the Deity in a Noh play, same as 住吉明神（塩土老翁）Sumiyoshi Myojin.
He appears with long white hair to teach people the art of writing Waka poetry.

CLICK photos for more illustrations!
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